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Jeffrey M. Zacks

This article is a précis of the book Flicker: Your Brain on Movies (Zacks 2014). Flicker aims to introduce a broad readership to the psychology and neuroscience that underlies their experience in the movie theater. The book covers a range of topics, including emotional experience, adaptation from texts to films, memory and propaganda, movie violence, film editing, and brain stimulation. Cutting across the specific topics are a few broad themes: the evolution of the brain and mind, the role of automatically evoked responses in film viewing, and the role of behavioral and neural plasticity in everyday experience.

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Catalin Brylla and Mette Kramer

Greengrass, 2006), can also be subjected to reality-status checks, for example believing that certain elements are factual, accepting others as artistic license inherent to the dramatization process, or rejecting inaccuracies as either propaganda or

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Falling Apart Together

On Viewing Ali Atassi’s Our Terrible Country from Beirut

Ira Allen

has since renounced the film, however, as propaganda over which he had no final influence. I follow producer Bidayyat for Audiovisual Arts in formally crediting both, and I respect Homsi’s preferences by referring here to Atassi as director throughout

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The Cine-Fist

Eisenstein’s Attractions, Mirror Neurons, and Contemporary Action Cinema

Maria Belodubrovskaya

adjustment that would stay. It was about sophisticated propaganda. Accordingly, Eisenstein’s theories were based on contemporary research on human psychology, including Vladimir Bekhterev’s physiology, Ivan Pavlov’s reflexology, and an array of other theories

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Andreas Baranowski and Heiko Hecht

unlikely to become universal. Münsterberg acknowledged the potential of film for educational purposes but also warned of the potential abuse for propaganda, which is not surprising, given that the book was written in the midst of World War I. Generally, he

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Handover Bodies in a Feminist Frame

Two Hong Kong Women Filmmakers’ Perspectives on Sex after 1997

Gina Marchetti

white. Thus, it plays with porn associations of the bride defiled on her wedding night as well as with Chinese connections of white with death and specifically PRC links to the Communist propaganda drama The White-Haired Girl , which has been an opera

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Jens Eder

support. What existential feelings, for instance, haunt us in war documentaries? How do films rhetorically exploit the viewers’ feelings—for instance, feelings of omnipotence in propaganda? Whose feelings do films express or rather suppress? Which movies

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Dan Flory

. Over the first half-century and more of cinema’s history there were numerous films that sought to elicit white racialized disgust, from early Edison films like Watermelon Contest (1896) to Nazi propaganda films like Jud Süss (Veit Harlan, 1940